loud, female-fronted, krautrock-loving groups. September 6, 2019 sees the continuation of Stereolab's seven album reissue campaign when 1996's 'Emperor Tomato Ketchup', 1997's 'Dots and Loops' and 1999's 'Cobra and Phases Group Play Voltage in the Milky Night' are reissued, via Warp Records and Duophonic UHF Disks, as expanded and re-mastered editions on vinyl and compact disc. Penultimate Dots and Loops track “Ticker-Tape of the Unconscious” opens with a sample from Gal Costa’s Tropicalia gem “Divino, Maravilhoso,” and its brisk, undulating rhythm track sounds a bit like Timbaland or the Neptunes trying their hand at lounge jazz. She was fond of Guy Debord’s 1967 Situationist manifesto Society of the Spectacle, which, across 221 short “theses,” argues that capitalism and mass media discourse have combined to wholly subsume reality, leaving only media representations in their wake. The band’s early 1993 peak saw Sadier advocating for “La Resistance” on their highest-charting single to date, and on the 18-minute krautgaze epic “Jenny Ondioline” she wonders if “democracy is fucked.” Looking back, that song marked a symbolic end of Gane and Sadier’s indie-motorik project. Sadier, born in the Parisian suburbs during the political tumult of May 1968, was a fan. Sadier contributes one of her finest lyrical moments to the track, as well. Heavily influenced by bossa nova and swinging '60s pop, Dots and Loops is a deceptively light, breezy album that floats by with effortless grace. Oyamada was the center of Tokyo’s “Shibuya-kei” scene, a network of savants described by Scottish art-pop provocateur (and, in 1997, scene reporter) Momus as “intelligent shopping as art.” That’s as good a phrase as any to describe recombinant pop, or its hip-hop predecessor, crate-digging. Their production touch on the album is light, but the atmosphere of a mid-tempo waltz like “The Flower Called Nowhere” (Pharrell is a fan) is much earthier and more organic than McEntire’s comparatively chilly work, but the two-part, nine-minute album-closing “Contronatura” showcases the real Mouse on Mars M.O. In September 1997, Stereolab’s sixth album Dots and Loops was their first to land on the Billboard charts. The roots of Stereolab lie in the teeming indie-pop scene of London in the late 1980s. They etched “NEU KIDS ON THE BLOCK” in the runout groove of their first 10” on outré London label Too Pure, a new imprint fond of loud, female-fronted, krautrock-loving groups. Gane’s retro preoccupations extended to the packaging as well: One album was a nod to hi-fi godhead Juan Garcia Esquivel, and the cover of their first for Elektra portrayed a stylus hovering over a record like an invading craft making first contact. While O’Hagan’s Farfisa plays tag with McEntire’s syncopated drum loops, his effervescent horns swell and ebb, and Gane’s strummed acoustic gives the song the surreal feel of the best ’60s Latin pop with a late ’90s production sheen. Sometimes derided as the moment when Stereolab tipped over into the bourgeois excess of those space-age pop albums that initially inspired them, 20 years later Dots and Loops is the telos of Gane’s original ideal for the group. Debord’s thinking deeply influenced Sadier’s lyrics, and its abbreviated style is refracted in Sadier’s phrasing (imagine Sadier singing the line “cyclical time in itself is time without conflict,” number 129 in Spectacle). He obsessed over Klaus Dinger’s mechanistic drumming and appreciated his sardonic anti-consumerism (Dinger playfully named the duo “Neu!” and designed their bold cover art as a jab at advertising lingo). Whatever came next for him and Sadier, he decided, wasn’t going to sound like any current trend in guitar music. Discover releases, reviews, credits, songs, and more about Stereolab - Dots And Loops at Discogs. Tracks like “Brakhage,” “Diagonals,” and “Parsec” rank among 1997’s most future-looking pop, the stuff that seemed, then and now, to exist in its own stratosphere: Missy Elliott and Timbaland’s Supa Dupa Fly, Busta Rhymes’ “Put Your Hands Where My Eyes Could See,” Aphex Twin’s “Flim,” Roni Size’s New Forms, Björk’s Homogenic, and Mouse on Mars’ Autoditacker. In a way, it’s apt that Dots And Loops has lived on in the cultural memory on account of ‘Parsec’ being used in an advert for Volkswagen Beetles. The imagery she conjures—a trompe l’oeil on a cardboard box, a spectacle that rhymes and arouses a flash in the eyes, an intimate show—is mild Situationist poetry about the commercial magic of pop music itself. 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